The Films of Ingmar Bergman: Centennial Celebration!

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The Films of Ingmar Bergman: Centennial Celebration! Swedish filmmaker, author, and film director Ingmar Bergman was born in 1918, so this year will be celebrated in Sweden and around the world by those who have been captivated by his work. Bergman belongs to a group of filmmakers who were hailed as "auteurs" (authors) in the 1960s by French, then American film critics, and his work was part of a wave of "art cinema," a form that elevated "movies" to "films." In this course we will analyze in detail six films by Bergman and read short pieces by Bergman and scholars. We will discuss the concept of film authorship, Bergman's life and work, and his cinematic world. Note: some of the films to be screened contain emotionally or physically disturbing content. The films listed below should be viewed BEFORE the scheduled OLLI class. All films will be screened at the PFA Osher Theater on Wednesdays at 3-5pm, the day before the class lecture on that film. Screenings are open to the public for the usual PFA admission. All films are also available in DVD format (for purchase on Amazon and other outlets or often at libraries) or on- line through such services as FilmStruck (https://www.filmstruck.com/us/) or, in some cases, on YouTube (not as reliable). Films Week 1: 9/27 Wild Strawberries (1957, 91 mins) NOTE: screening at PFA Weds 9/25 Week 2: 10/4 The Virgin Spring (1960, 89 mins) Week 3: 10/11 Winter Light (1963, 80 mins) Week 4: 10/18 The Silence (1963, 95 mins) Week 5: 10/25 Persona (1966, 85 mins) Week 6: 11/1 Hour of the Wolf (1968, 90 mins) Readings (to be posted with OLLI electronically and read BEFORE class) Week 2: What is an Author? Michel Foucault Week 3: Excerpts, The Magic Lantern (Ingmar Bergman's autobiography) Week 4: "The Snakeskin," essay by Bergman Week 5: excerpts, Images (Ingmar Bergman's autobiography) Week 6: excerpts, Best Intentions and Private Confessions (Bergman's novels) Linda Haverty Rugg, Professor, Scandinavian Department, UCB [email protected] Author of articles on Bergman and Self-Projection: The Director’s Image in Art Cinema (UMN Press, 2014) .

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Sacred trauma: Language, recovery, and the face of God in Ingmar Bergman's trilogy of faith Item Type Thesis Authors Dyer, Daniel Download date 03/10/2021 11:10:08 Link to Item http://hdl.handle.net/11122/4802 SACRED TRAUMA: LANGUAGE, RECOVERY, AND THE FACE OF GOD IN INGMAR BERGMAN’S TRILOGY OF FAITH A THESIS Presented to the Faculty of the University of Alaska Fairbanks in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS By Daniel Dyer, B.A. Fairbanks, Alaska December 2014 Abstract This thesis examines the three films that constitute director Ingmar Bergman’s first trilogy, Through a Glass Darkly , Winter Light , and The Silence. In the thesis I take a multi- disciplinary approach to analyzing the films’ treatments of language, trauma, and God. Drawing on the Old Testament and work of psychoanalysts dealing with trauma, I argue for the similarities and reciprocity between trauma and communion with God and the ways in which the three films illustrate these relationships. Each film functions on a reflexive level to criticize the tools of filmmaking—images, dialog, and narrative—and points to discordance between symbols and reality. Bringing in Jacques Lacan’s model of the imaginary and symbolic orders, I analyze the treatment of language and trauma in the trilogy and the potential for recovery suggested by the end of each film. The thesis culminates by tracing the trilogy toward a new vision of God and his role in the human psyche. v For Grandpa, the Eucharistic Minister. vi Table of Contents Signature Page .........................................................................................................................
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50Th Chicago International Film Festival to Open with Liv Ullmann's Torrid Adaptation of August Strindberg Play “Miss Julie”
[Type text] [Type text] [Type text] Media Contacts: Alejandro Riera Nick Harkin/Carly Leviton 312.683.0121, x. 116 Carol Fox and Associates [email protected] 773.327.3830 x 103/104 [email protected] [email protected] 50TH CHICAGO INTERNATIONAL FILM FESTIVAL TO OPEN WITH LIV ULLMANN'S TORRID ADAPTATION OF AUGUST STRINDBERG PLAY “MISS JULIE” Oct. 9 Festival Opener Stars Jessica Chastain and Colin Farrell CHICAGO, IL (September 9, 2014) –The 50th Chicago International Film Festival (October 9- 23, 2014) announces the selection of “Miss Julie,” directed by veteran actress and Ingmar Bergman collaborator Liv Ullmann and starring Golden Globe®-award winning actors Jessica Chastain, Colin Farrell and Samantha Morton as its Opening Night film. “Miss Julie” will screen October 9 at the Harris Theater (205 E. Randolph Dr.). The red carpet event starts at 6 p.m. Director Liv Ullmann is scheduled to attend. Based on August Strindberg’s 1888 groundbreaking naturalistic drama, “Miss Julie” takes place over the course of one midsummer night in an Irish country estate, as the haughty Miss Julie (Jessica Chastain) and her father's lowly valet John (Colin Farrell) charm and manipulate each other. By turns seductive and bullying, savage and tender, their intimate relationship leads to a desperate plan, culminating in a final act as sublime and devastating as anything in Greek tragedy. Ullmann brings renewed vitality to August Strindberg’s classic play of power, class and seduction. “Since her extraordinary directorial debut, ‘Sofie,’ in 1992, we have premiered each and every one of Liv’s directorial efforts,” said Chicago International Film Festival Founder and Artistic Director Michael Kutza.
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The Films of Ingmar Bergman Jesse Kalin Frontmatter More Information
Cambridge University Press 0521380650 - The Films of Ingmar Bergman Jesse Kalin Frontmatter More information The Films of Ingmar Bergman This volume provides a concise overview of the career of one of the modern masters of world cinema. Jesse Kalin defines Bergman’s conception of the human condition as a struggle to find meaning in life as it is played out. For Bergman, meaning is achieved independently of any moral absolute and is the result of a process of self-examination. Six existential themes are explored repeatedly in Bergman’s films: judgment, abandonment, suffering, shame, a visionary picture, and above all, turning toward or away from others. Kalin examines how Bergman develops these themes cinematically, through close analysis of eight films: well-known favorites such as Wild Strawberries, The Seventh Seal, Smiles of a Summer Night, and Fanny and Alexander; and im- portant but lesser-known works, such as Naked Night, Shame, Cries and Whispers, and Scenes from a Marriage. Jesse Kalin is Andrew W. Mellon Professor of Humanities and Professor of Philosophy at Vassar College, where he has taught since 1971. He served as the Associate Editor of the journal Philosophy and Literature, and has con- tributed to journals such as Ethics, American Philosophical Quarterly, and Philosophical Studies. © Cambridge University Press www.cambridge.org Cambridge University Press 0521380650 - The Films of Ingmar Bergman Jesse Kalin Frontmatter More information CAMBRIDGE FILM CLASSICS General Editor: Ray Carney, Boston University The Cambridge Film Classics series provides a forum for revisionist studies of the classic works of the cinematic canon from the perspective of the “new auterism,” which recognizes that films emerge from a complex interaction of bureaucratic, technological, intellectual, cultural, and personal forces.
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Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Things I Hate About You DVD-0812 27 Dresses DVD-8204 1000 Eyes of Dr. Mabuse DVD-0048 28 Days Later DVD-4333 10th Victim DVD-5591 DVD-6187 12 DVD-1200 28 Weeks Later c.2 DVD-4805 c.2 12 and Holding DVD-5110 3 Women DVD-4850 12 Angry Men DVD-0850 3 Worlds of Gulliver DVD-4239 12 Monkeys DVD-3375 3:10 to Yuma DVD-4340 12 Years a Slave DVD-7691 30 Days of Night DVD-4812 1776 DVD-0397 300 DVD-6064 1900 DVD-4443 35 Shots of Rum DVD-4729 1984 (Hurt) DVD-4640 39 Steps DVD-0337 DVD-6795 4 Little Girls DVD-0051 1984 (Obrien) DVD-6971 400 Blows DVD-0336 2 Autumns, 3 Summers DVD-7930 42 DVD-5254 2 or 3 Things I Know About Her DVD-6091 50 First Dates DVD-4486 20 Million Miles to Earth DVD-3608 500 Years Later DVD-5438 2001: A Space Odyssey DVD-0260 61 DVD-4523 2010: The Year We Make Contact DVD-3418 70's DVD-0418 2012 DVD-4759 7th Voyage of Sinbad DVD-4166 2012 (Blu-Ray) DVD-7622 8 1/2 DVD-3832 21 Up South Africa DVD-3691 8 Mile DVD-1639 24 Season 1 (Discs 1-3) DVD-2780 Discs 9 to 5 DVD-2063 25th Hour DVD-2291 9.99 DVD-5662 9/1/2015 9th Company DVD-1383 Adventures of Ozzie and Harriet DVD-0831 A.I.
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The Life and Films of the Last Great European Director
Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN Macnab-05480001 macn5480001_fm May 19, 2009 11:55 Geoffrey Macnab writes on ﬁlm for the Guardian, the Independent and Screen International. He is the author of The Making of Taxi Driver (2006), Key Moments in Cinema (2001), Searching for Stars: Stardom and Screenwriting in British Cinema (2000), and J. Arthur Rank and the British Film Industry (1993). Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN The Life and Films of the Last Great European Director Geoffrey Macnab Macnab-05480001 macn5480001_fm May 8, 2009 9:23 Sheila Whitaker: Advisory Editor Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © 2009 Geoffrey Macnab The right of Geoffrey Macnab to be identiﬁed as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 84885 046 0 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress
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The Playfulness of Ingmar Bergman: Screenwriting from Notebooks to Screenplays
EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org The playfulness of Ingmar Bergman: Screenwriting from notebooks to screenplays Anna Sofia Rossholm NECSUS (7), 2: Autumn 2018: 23–42 URL: https://necsus-ejms.org/the-playfulness-of-ingmar-bergman- screenwriting-from-notebooks-to-screenplays/ Keywords: archive, creative writing, genetic criticism, Ingmar Berg- man, Persona, play, screenplays, screenwriting The voice: You said you wanted to ‘play and fantasise’. Bergman: We can always try. The voice: That’s what you said: play and fantasise. Bergman: Sounds good. You don’t exist, yet you do. The voice: If this venture is going to make sense, you have to describe me. In detail actually. Bergman: Sit down on the chair by the window and I’ll describe you. The voice: I won’t sit down unless you describe me. Bergman: Well then. And how do I begin? You are very attractive. Most attractive.[1] This is the beginning of Ingmar Bergman’s screenplay Trolösa (Faithless, di- rected by Liv Ullmann in 2000). The dialogue, which is a prologue to the story, is a playful depiction of the author’s creative development of a fictional character. Step by step ‘the voice’ in the scene is given a body, name, and characteristics. Gradually she becomes the character ‘Marianne’. The question is how truthful this scene is to the actual creative process? Of course, it is not a description of what really happened in Bergman’s mind. The character Marianne probably did not appear as a sudden fantasy in the mind of the author. She is more likely a result of a long mental process over NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES many years.
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Intermediality As a Tool for Aesthetic Analysis and Critical Reflection, Edited by Sonya Petersson, Christer Johansson, Magdalena Holdar, and Sara Callahan, 49–74
The Intersection between Film and Opera in the 1960s: Ingmar Bergman’s Hour of the Wolf as an Example of Formal Imitation Johanna Ethnersson Pontara Abstract The topic of this article is the intersection between media genres in 1960s Sweden. In a case study of Ingmar Bergman’s Hour of the Wolf (1968) it is shown how the music contributes to intermedial qualities through the film’s connection with opera. It is argued that the film, by how the music is related to sound effects and images, can be seen as an example of formal imitation. The imitation of opera is created through technical media of film, such as fore- grounding of media in the audio-visual space, and manipulations of sounds, music, and images. Of special interest is how, by alter- nating between synchronicity and counterpoint between images, sound effects, and music, Bergman attracts attention to the media as visual and sonic experiences and creates formal structures that deviate from the overall character of the film. The intermedial di- mension of the film revealed by the analysis is contextualized in re- lation to the historical discussion of mixed versus pure medialities. The film is seen in the light of an interest in media genre mixedness versus media genre specificity in 1960s Sweden. Introduction In a review of Ingmar Bergman’s Hour of the Wolf (Vargtimmen, 1968) published in the American film journalFilm Quarterly How to cite this book chapter: Ethnersson Pontara, Johanna. “The Intersection between Film and Opera in the 1960s: Ingmar Bergman’s Hour of the Wolf as an Example of Formal Imitation.” In The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection, edited by Sonya Petersson, Christer Johansson, Magdalena Holdar, and Sara Callahan, 49–74.
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Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243
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Self and Identity in the Films of Ingmar Bergman James Bradley Mitchell
University of South Carolina Scholar Commons Senior Theses Honors College Spring 5-5-2016 "For Me, Film is Face": Self and Identity in the Films of Ingmar Bergman James Bradley Mitchell Follow this and additional works at: https://scholarcommons.sc.edu/senior_theses Part of the Mathematics Commons Recommended Citation Mitchell, James Bradley, ""For Me, Film is Face": Self and Identity in the Films of Ingmar Bergman" (2016). Senior Theses. 95. https://scholarcommons.sc.edu/senior_theses/95 This Thesis is brought to you by the Honors College at Scholar Commons. It has been accepted for inclusion in Senior Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. 1 “For Me, Film is Face”: Self and Identity in the Films of Ingmar Bergman Brad Mitchell Spring 2016 2 I. Introduction The filmography of Ingmar Bergman is often described in terms whose aptness is hard to deny, but whose connotations can be a bit hazier – “dark,” “serious,” and “melodramatic” are often used to describe his films, doubtless due to particular themes reoccurring throughout his works. Repeatedly expounded are ideas of life and death, God and Satan, light and darkness. These ideas sometimes manifest themselves literally, such as the character of Death in The Seventh Seal, and sometimes exist as struggles his characters face, such as a priest’s crisis of faith in Winter Light or Isak Borg’s struggle with living in Wild Strawberries. At other times these ideas are shown directly to the viewer on the screen: cinematographer Sven Nykvist, who worked with Bergman on many of his films, reportedly sat in the church where Winter Light was filmed for an entire winter day in order to observe how the light moved throughout the space.
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Timeline of Selected Bergman 100 Events
London, 18.09.17 Timeline of selected Bergman 100 events This timeline includes major activities before and during the Bergman year. Please note that there are many more events to be announced both within this timeframe and beyond. A full, regularly updated calendar of performances, retrospectives, exhibitions and other events is available at www.ingmarbergman.se September 2017 • Misc.: Launch of Bergman 100, 18 Sep, London, UK. • On stage: Scenes from a marriage, opening 31 Aug, Det Kgl Teater (The Royal Playhouse), Copenhagen, Denmark. • On stage: Autumn Sonata (opera), opening 8 Sep, Finnish National Opera, Helsinki, Finland. • Book release: Ingmar Bergman A–Ö (in English), Ingmar Bergman Foundation/Norstedts publishing, Sweden. • On stage: The Best Intentions, opening 16 Sep, Aarhus theatre, Aarhus, Denmark. • On stage: After the Rehearsal/Persona, The Barbican, London, UK. • On stage: Scenes From a Marriage, opening 20 Sep, Teatros del Canal, Madrid, Spain. • On stage: Breathe, Bergman-inspired dance performance, opening 28 Sep, Inkonst, Malmö, Sweden. • On stage: The Serpent’s Egg, opening 30 Sep, Cuvilliés-Theater, Munich, Germany. • On stage: Scenes From a Marriage, world tour Sep–Dec, Asia, Europe, South America. October 2017 • On stage: Scenes from a marriage, opening 5 Oct, Ernst-Deutsch-Theater, Hamburg, Germany. • On stage: After the rehearsal, opening 20 Oct, Düsseldorfer Schauspielhaus, Düsseldorf, Germany. • Misc.: The European Film Academy awards Hovs Hallar the title ‘Treasure of European Film Culture’. (A nature reserve in the county of Skåne, Sweden, Hovs Hallar is the location of the chess scene in The Seventh Seal.) • On stage: Scenes From a Marriage, opening 25 Oct, Teatro Tivoli, Barcelona, Spain.
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For Ingmar Bergman, Uppsala Was the Place of Childhood Uppsala Ist Für Ingmar Bergman Ein Ort Der Kindheitserinnerungen
For Ingmar Bergman, Uppsala was the place of childhood Uppsala ist für Ingmar Bergman ein Ort der Kindheitserinnerungen. Akademikvarnen [ 3 ] an dem Flüsschen Fyrisån als Bischofshaus, Steinwurf von der Domkyrkan [ 2 ], dem Schloß [ 6 ] und nicht zuletzt als auch die Wirklichkeit abgewandelt.) Das Uppsala stadshotell lag Bergmans Uppsala ist weniger ein geographischer Ort, sondern Der Epilog des Buches ist eigentlich ein Prolog, da sich das Gespräch, UPPSALA memories. This is where he was born, and although his In Uppsala ist er zur Welt gekommen, und auch als die Familie deren Räumlichkeiten heute vom Museum Upplandsmuseet genutzt dem Kino Slottsbiografen [ 7 ] entfernt. wirklich dort, ist aber inzwischen geschlossen. vielmehr eine Welt aus Kindertagen, die zum Mythos erhoben wird. welches dort stattfindet, bereits vor dem Rest der Handlung zugetragen family moved to Stockholm not long after his birth, he kurz darauf nach Stockholm zog, verbrachte er viel Zeit bei seiner werden. Das rauschende Wasser des Flusses ist ein Leitmotiv, das hat. Anna und ihr Konfirmationspastor Jacob führen dieses Gespräch; Zeit, die verstreicht, Glocken, die schlagen und Uhren, die ticken, Ebenso wenig wie es jemals Märtas Matsalar gegeben hat, ist auch der spent a great deal of time at his maternal grandmother’s in Großmutter in Uppsala. Die Stadt nimmt in Ingmar Bergmans Werk den gesamten Film durchzieht. sie setzen sich auf eine Bank vor der Kirche, über die Jacob folgendes Uppsala är för Ingmar Bergman barndomens och minnenas Uppsala. Appearing in his work as of a sort of Arcadia, a die Bedeutung eines Arkadien, einer verlorenen Welt ein und spielt Die besten Absichten gehören in Bergmans Filmen und Büchern zum Inventar: „Die Kastanien Ort, an dem die Auseinandersetzung zwischen den Rivalinnen Anna zu berichten weiß: „Weißt du, daß die Trefaldighet-Kirche ursrprünglich ort.
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